Reformer Pilates: Long Stretch

Reformer Repertoire

Long Stretch Series:

Long Stretch

Alternate Names

Plank

Derived From

Classical Reformer: Long Stretch

Primary Element

Strength

Why for Primary?

To create strength in the abdominal and shoulder muscles to hold the torso in a stable position throughout the movement.

Secondary Element

Stability

Why for Secondary?

To develop and create stability of the shoulder in flexion on the push out or away from the carriage and in extension on the return phase of the movement.

Tertiary Element

N/A

Why Tertiary?

N/A

Repetitions

8-10

Apparatus Setup

Suggested springs

  • Number system: 1 springs
  • Colour system: 1 x red spring
  • Resistance: light

 

Foot bar one position is set at one position down from vertical, or on many Reformers the top angled position.

Plane of Motion

Sagittal

Targeted Muscles

The shoulder flexors as the carriage moves away as the arms are pressing into the foot bar and reaching upwards

Shoulder flexors

  • Anterior and Middle Deltoids
  • Pectoralis Major
  • Biceps Brachii

 

The shoulder extensors as the carriage moves back inwards and the arms technically move back

  • Posterior deltoid
  • Latissimus dorsi
  • Teres major

 

The abdominal muscles to keep the torso in the same position throughout, transversus abdominis.

Warnings

This exercise may be unsuitable for clients where abdominal engagement is contraindicated., or who have shoulder issues or injuries as there is a lot of body and body weight being held by the arms and shoulders.
The exercise may be difficult for clients who present with tight chests or pectoralis muscles, or limited range of motion through the shoulders. Pectoralis release work or stretches may be beneficial before this exercise to assist with activation and range of motion. A short or tight Pectoralis Minor muscle may restrict shoulder flexion by limiting scapula movement and rotation.

Execution

Kneel upright on the Reformer carriage facing the foot bar with the feet against the shoulder blocks with the toes tucked under. Place the heels of the hands onto the foot bar shoulder width apart with the fingers relaxed. Let the pelvis move forward so there is a line from the shoulders through the pelvis to the knees. Bring the shoulders up and back and lean the body weight forward before lifting the knees up so there is a straight line shoulders, pelvis and ankles. Reach the heels into the shoulder blocks.

Inhale to push the carriage away by pressing into the foot bar moving from the shoulder joints. Exhale to return to the start position without folding at the hips or knees and keeping the line between the shoulders to the ankles the whole time.

Observations

Do a body scan of the client taking note of the following points

  • Head and Neck
    • Is the back of the neck long and crease free? A slight retraction of the neck with the chin tucked can help avoid straining the neck forward and up as the arms reach forward and upwards
  • Pelvis
    • Are the hip bones even horizontally or is the client leaning to one side?
    • Is the client about to keep a posterior tilt throughout with engagement of the abdominals? Look for the rib cage popping forward, ideally it is kept down and in with the pelvis tucked to avoid arching in the lumbar spine and keeping a straight position throughout
    • Can the client keep their lumbar spine flat and slightly lifted in the pelvis to avoid dropping the pelvis too low and arching into the back?
  • Arms
    • Are the arms shoulder width apart with the heels of the palms resting on the foot bar without any white knuckle grip of the fingers?
    • Are the same straight throughout? A soft bend in the elbow is ideal but generally straight arms
  • Legs
    • Are the thigh bones or femurs in line with the hips and shoulders?

Learning Style Technique Cues

Auditory – word associations that connect mind and body

  • Keep the pelvis and torso still when pressing away from the foot bar
  • Bias the pelvis towards a slight posterior tilt in order that you can avoid extending or arching the lumbar spine
  • Say the client’s name when you’re about to interact with them

 

Visual

  • Imagine a foam roller behind your spine, hug the shoulder blades around the foam roller and keep the back of the head connected to the foam roller as you reach the arms forward and upwards
  • Imagine the shoulders to ankles as a still plank or pole, with movement only from the arms pressing and the shoulder joint moving
  • You may demonstrate a part of the movement as a visual representation for the client to see

 

Kinaesthetic

  • Feel the co-contraction of the abdominal muscle and the back extensors to create a stable torso from which to move from
  • Feel the hinge at the shoulder joint and engage the abdominal muscles to draw the carriage back towards park or the stopper

Modifications and Variations

Regress the exercise by

  • Increasing the spring set to one blue spring and one red spring (watching for too much load into the wrists as the resistance of the springs increases)
  • Reduce the repetitions and/or pace
  • Stretching the chest and Pectoralis muscles to increase the range of motion through the shoulders before attempting the exercise
  • Working on Long Stretch Series: Down Stretch

 

Progress the exercise by

  • Increasing the repetitions and/or pace
  • Decreasing the spring setting to one blue spring to create a need for more control from the abdominal muscles
  • Increasing the range of motion or how far the arms are reaching forward and upwards, with the carriage moving back
  • Work on a single-leg variation with one lifted up above the shoulder block the entire time, before switching to the other leg for 4-5 repetitions on each side
  • Progress into Long Stretch Series: Elephant

 

Client sore from loading into the wrists?

  • Activating or connecting into the shoulders can help
  • Try externally rotating the shoulders so the palms face inwards and placing the hands on the outside rounded edges of the foot bar
  • Limit the repetitions or stay from 8 to 10 repetitions only

Series and Transitions

This exercise is part of the Long Stretch series which includes a range of other exercises in the progressive repertoire. The Long Stretch series can also be found in the Mat Work in the variations of Plank or Long Stretch and Pike or Up Stretch.

Transition to Long Stretch Series: Elephant by returning to the start position, lifting the hips to the ceiling and standing on the carriage with the legs straight, arms reaching and holding onto the foot bar at shoulder width apart, weight back into the heels.

The traditional order of the Long Stretch series is

 

Inspired Academy follows the order to create stability and mobility before building strength.

Progressive repertoire